Diane Schuur Albums (20)
What The Critics Say
For her entry into the increasingly popular Great American Songbook subgenre, Diane Schuur de-emphasizes the vocal histrionics that in the past have come close to spoiling some of her recordings and maintains a steady, clear, exuberant tone. Good move: one of Schuur's gifts is her multi-octave range, but she has often over-relied on it at the expense of whatever song she was singing. Here, she takes to the classic compositions of George and Ira Gershwin, Rodgers & Hammerstein, Irving Berlin, and the like with a respectfulness and glee that allow her to frame and expose these culturally embedded lyrics and melodies without beating on them. If anything, Schuur is overly cautious at times -- there's a girl-like quality to her voice here that belies her 50-plus years, and she sometimes lays back where before she might have trampled. But she's clearly enjoying this repertoire; it's as if, by exploring these ancient tunes, she's discovered a fountain of youth along the way. Accompanied by longtime pianist Randy Porter, as well as guitarist Dan Balmer, bassist Scott Steed, and drummer Reggie Jackson, Schuur largely stays in a ballad-to-midtempo range on standards like "Blue Skies," "Nice Work If You Can Get It," "My Favorite Things," and Sammy Cahn and Jule Styne's "It's Magic." She's comfortable there, and the lack of a hurried pace allows her to utilize her still impressive range to get the most from the tunes without falling into the trap of milking them. ~ Jeff Tamarkin, All Music Guide
What The Critics Say
Having displayed a knack in the past for reinterpreting both pop and jazz tunes, jazz vocalist Diane Schuur once again succeeds in bringing together an unexpected mix of compositions on Schuur Fire. Featuring the Caribbean Jazz Project, the album finds Schuur's clarion vocals melding nicely with vibist Dave Samuels' superb Latin jazz ensemble -- especially trumpeter Diego Urcola, who takes some tasty solos throughout. To these ends, listeners discover that James Taylor's "Don't Let Me Be Lonely Tonight" makes for a comfortable soft jazz number with a nice double-time midsection, and Stevie Wonder's "As" fits perfectly into the uptempo Latin dance style. Interestingly, Sergio Mendes' "Look Around" is given a faithfully retro feel that harks back to such shiny vocal groups as the Free Design. However, nobody but Schuur could have predicted how great Don Gibson's classic country tune "I Can't Stop Loving You" would sound as a samba. ~ Matt Collar, All Music Guide
What The Critics Say
On this set, Diane Schuur performs 13 songs written or co-written by Barry Manilow, most of which are new. On first glance, the project may not seem to have much potential, particularly if one thinks of Manilow's pop records. However, other than a charming vocal duet on the closing "Anytime," Manilow is not on this date and the emphasis is on Schuur's beautiful voice. Fortunately, she takes most of the songs pretty straight, sounding at her best throughout. Manilow proves to be an underrated songwriter, contributing some touching ballads and a few swingers while collaborating with some talented and often witty lyricists. A few of the songs are good enough to become standards (though the odds are against it) and there are some short horn solos along the way. Karrin Allyson duets with Schuur on the humorous "Stay Away from Bill," and singer Brian McKnight helps out on "I'll Be There." All in all, Midnight is a surprising success easily recommended to fans of Diane Schuur's voice. ~ Scott Yanow, All Music Guide
'Swingin' for Schuur'
Release Date 9/25/2001
Tracks 12
Label Concord Jazz
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What The Critics Say
Well regarded as one of our greatest living jazz singers, Schuur seems to enjoy album titles created out of puns of her name -- prior to this there was Friends for Schuur -- but don't let the novelties distract you from this sassy, explosively brassy swing project blending her inventive vocals with Ferguson's blistering trumpet and the ensemble energy of his Big Bop Nouveau Band. Aside from crisp performances by both, the real key to the success here is the unexpected arrangements of standards by various members of Ferguson's band. Two classics generally rendered as intimate ballads -- "Autumn Leaves" and "My Romance" -- are rendered as easy swaying, frisky finger-snapping romps. The interlude after the first verse on "Autumn Leaves" typifies the way Ferguson lets his guys jam before he steps up and challenges them with a powerful wailing flurry of high notes. "My Romance" finds Schuur moving out of her crystal clear midrange safety zone and reaching the high registers, with a few vocal notes matched at the end by the trumpet. Many of the arrangements are like baritone saxman Denis DiBlasio's twist on "East of the Sun and West of the Moon" -- Schuur gliding over a snappy but subdued jazz trio before Ferguson and company burst in with increasingly muscular horn textures, which then push her to emotional heights. Most of the songs incorporate such mood swings, but "Deep Purple" stays a slow, seductive, and subdued ballad the whole way through. Schuur once again proves she's an amazing vocalist who can sing along with the best of them. Is there another singer who's made duet recordings with both Ferguson and B.B. King? ~ Jonathan Widran, All Music Guide
'Autumn Leaves: Swingin Schuur'
Release Date 9/21/2001
Tracks 12
Label JVC Victor
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'Friends for Schuur'
Release Date 9/26/2000
Tracks 11
Label Concord Jazz
See Album Tracklist and Review
What The Critics Say
Diane Schuur, one of the greatest entertainers in the world, makes her Concord Jazz debut with Friends for Schuur and it is remarkable. Her multifaceted vocal artistry is featured in great company on 11 sensational songs including two "live" concerts that feature Ray Charles and Stevie Wonder. There is even a digitally reintroduced version of "Easy Living," featuring the great Stan Getz. Diane Schuur is regal and she's soulful, passionate, and playful and her avid listeners know immediately that her voice has all the right qualities: technique, range, and adaptability to pop, jazz, gospel, and blues. "I'd Fly" is a definite smooth jazz hit. She sings its sexy, but beautifully contoured melody, romantic lyrics with such yearning and passion that this late-night romantic ballad should land solidly on the charts. Her duet with Stevie Wonder on "Finally" is prime. Her "live" duet with Ray Charles on "It Had to Be You" is packed full of soul, and all the while, you know you're in the middle of something amazing. The great songwriters Alan Bergman and Dave Grusin place their inimitable stamp on the essential "It Might Be You" (Theme From "Tootsie") and with Schuur's heartfelt vocals, it clearly remains one of the best songs of the 20th century. Friends for Schuur brings you the new first lady of jazz at the height of her award-winning career. With it, Diane Schuur becomes the consummate entertainer whose dreams are forever intertwined with the greatest names in jazz and contemporary music. ~ Paula Edelstein, All Music Guide
What The Critics Say
While most jazz singers probably do not improvise enough, in the case of Diane Schuur, the less she gets away from the melody the better. The reason is obvious: Schuur has a beautiful voice but she rarely seems to know what to do with it! Her improvising can be screechy and erratic. Fortunately, Schuur mostly sticks to the themes on this strong release. Utilizing a variety of top jazz musicians, including pianist Alan Broadbent (Schuur plays piano herself on two songs) and tenor saxophonist Nino Tempo (who always emulates Stan Getz), Schuur mostly uplifts standards on her colorful outing. She goes a bit over the top with her singing on "Invitation" but her versions of "Bewitched, Bothered and Bewildered," "Keepin' Out of Mischief Now" and "If You Could See Me Now" are quite lovely, and she takes "Over the Rainbow" as a haunting, unaccompanied vocal. This is one of her better releases and an excellent example of what her live shows were like during 1998-1999. ~ Scott Yanow, All Music Guide
What The Critics Say
This set of ten concise standards (which totals in at around 36 minutes) finds Diane Schuur singing in prime form. The interpretations are straightforward, without much improvising, although Schuur is quite soulful, showing the influence of late-period Dinah Washington (whose hit "Blue Gardenia" she revives). The excess of Schuur's early years is gone, and in its place is a warm, contented voice that sounds best on such ballads as "Say It Isn't So" and "How Deep Is the Ocean," as well as the swingers "Love Walked In" and "You're a Sweetheart." There are occasional short solos for trumpeter Jack Sheldon, trombonist Andy Martin and the tenor of Pete Christlieb, but this is very much Schuur's show. A fine effort. ~ Scott Yanow, All Music Guide
